Sunday, March 12, 2017

From Rupert Sanders, director of Snow White and the Huntsman comes “Ghost in the Shell,” based on the famous Kodansha Comics manga series written and illustrated by Shirow Masamune.

In the near future, Major (Scarlett Johansson) is
the first of her kind: A human saved from a terrible crash, who is
cyber-enhanced to be a perfect soldier devoted to stopping the world’s
most dangerous criminals. When terrorism reaches a new level that
includes the ability to hack into people’s minds and control them, Major
is uniquely qualified to stop it. As she prepares to face a new enemy,
Major discovers that she has been lied to: her life was not saved, it
was stolen. She will stop at nothing to recover her past, find out who
did this to her and stop them before they do it to others.

Since the publication of Masamune Shirow’s original manga in 1989, “Ghost in the Shell” has inspired a devoted worldwide following, including influential filmmakers like Steven Spielberg, James Cameron and the Wachowskis.
The epic media franchise already includes two landmark anime feature
films and two television series, as well as novels, video and mobile
games.

Rupert Sanders was already very familiar with the first “Ghost in the Shell”
anime feature, which he lauds as a milestone in the history of modern
cinema for the way it blends a quintessentially Japanese milieu with
popular science-fiction tropes. “The grown-up animation is pretty spectacular,” says the director. “It
set the standard for a futuristic global aesthetic. The character of
Major is fundamentally exciting — she’s so powerful and sexual. She’s a
human and she’s a machine. The mix of all these elements was very
intoxicating to me as a filmmaker.”

Not long after Sanders officially signed on to the project in January
2014 he presented the producers with an original 110-page graphic novel
to lay out his take on the film. “I wanted to return to the original world of Ghost in the Shell,” he explains. “The
visual language of the manga really caught my imagination, so I used
many images from the original in that rough collage of the story.”

“Ghost in the Shell” is unprecedentedly popular in Japan, but many people in America and around the world have also seen and loved the anime. “The imagery really strikes a nerve,” says Sanders. “Those
images became the cornerstone for us in developing the movie. We didn’t
reinvent it from the ground up, but we also didn’t copy it frame for
frame.”

Sanders’ intention was always to build a bigger film around the
source material, while honoring the heart and philosophical essence as
well as the iconic images that have made the story universally popular. “We kept the Geisha as our opening sequence,” he says.
“We kept the trash truck. We kept some of the Hanka Corporation, and
many, many little things that as a fan I was obsessed with. Sanders
preserved many of the iconic elements of the original. Although there
are conversations about humanity, technology, and dualism, our film is
primarily a journey of discovery told through a fairly straightforward
detective story. Major is after a bad guy, which leads to the question,
who is this guy? What’s he taking and why is he taking it? But as she
goes down this road, she starts to understand that her path and his path
are closer than she thought.”

Everyone involved in the film felt a tremendous responsibility to
maintain the integrity of the franchise. Throughout the writing,
development and shooting of the movie, the filmmakers referred back to
the manga and the anime for inspiration. In addition, Mamoru Oshii, director of the two animated features, and Kenji Kamiyama, director of the television series, were invited to visit the set during filming in Hong Kong.

“Rupert has made his own version of this story,” says Oshii. “This
is the most gorgeous film made in the series so far. Rupert starts with
compositions, colors and lighting ideas. As a director myself, I
believe it’s best for the director to do what he envisions, so I wished
that for Rupert. Scarlett Johansson has gone above and beyond my
expectations for the role of Major.”

Sanders is proud to be part of the continuing “Ghost in the Shell” legacy. “We all felt it was important for us to become part of that culture,” he concludes. “We
had someone from Japan with us the whole time we were shooting the
film. We wanted to be a part of this line of storytellers, and we wanted
them to be a part of our project.”

Opening across the Philippines on March 29, “Ghost in the Shell” is distributed by United International Pictures through Columbia Pictures.

Popular Manga “Ghost In The Shell” Transforms Into Big Screen Thriller

From Rupert Sanders, director of Snow White and the Huntsman comes “Ghost in the Shell,” based on the famous Kodansha Comics manga series written and illustrated by Shirow Masamune.

In the near future, Major (Scarlett Johansson) is
the first of her kind: A human saved from a terrible crash, who is
cyber-enhanced to be a perfect soldier devoted to stopping the world’s
most dangerous criminals. When terrorism reaches a new level that
includes the ability to hack into people’s minds and control them, Major
is uniquely qualified to stop it. As she prepares to face a new enemy,
Major discovers that she has been lied to: her life was not saved, it
was stolen. She will stop at nothing to recover her past, find out who
did this to her and stop them before they do it to others.

Since the publication of Masamune Shirow’s original manga in 1989, “Ghost in the Shell” has inspired a devoted worldwide following, including influential filmmakers like Steven Spielberg, James Cameron and the Wachowskis.
The epic media franchise already includes two landmark anime feature
films and two television series, as well as novels, video and mobile
games.

Rupert Sanders was already very familiar with the first “Ghost in the Shell”
anime feature, which he lauds as a milestone in the history of modern
cinema for the way it blends a quintessentially Japanese milieu with
popular science-fiction tropes. “The grown-up animation is pretty spectacular,” says the director. “It
set the standard for a futuristic global aesthetic. The character of
Major is fundamentally exciting — she’s so powerful and sexual. She’s a
human and she’s a machine. The mix of all these elements was very
intoxicating to me as a filmmaker.”

Not long after Sanders officially signed on to the project in January
2014 he presented the producers with an original 110-page graphic novel
to lay out his take on the film. “I wanted to return to the original world of Ghost in the Shell,” he explains. “The
visual language of the manga really caught my imagination, so I used
many images from the original in that rough collage of the story.”

“Ghost in the Shell” is unprecedentedly popular in Japan, but many people in America and around the world have also seen and loved the anime. “The imagery really strikes a nerve,” says Sanders. “Those
images became the cornerstone for us in developing the movie. We didn’t
reinvent it from the ground up, but we also didn’t copy it frame for
frame.”

Sanders’ intention was always to build a bigger film around the
source material, while honoring the heart and philosophical essence as
well as the iconic images that have made the story universally popular. “We kept the Geisha as our opening sequence,” he says.
“We kept the trash truck. We kept some of the Hanka Corporation, and
many, many little things that as a fan I was obsessed with. Sanders
preserved many of the iconic elements of the original. Although there
are conversations about humanity, technology, and dualism, our film is
primarily a journey of discovery told through a fairly straightforward
detective story. Major is after a bad guy, which leads to the question,
who is this guy? What’s he taking and why is he taking it? But as she
goes down this road, she starts to understand that her path and his path
are closer than she thought.”

Everyone involved in the film felt a tremendous responsibility to
maintain the integrity of the franchise. Throughout the writing,
development and shooting of the movie, the filmmakers referred back to
the manga and the anime for inspiration. In addition, Mamoru Oshii, director of the two animated features, and Kenji Kamiyama, director of the television series, were invited to visit the set during filming in Hong Kong.

“Rupert has made his own version of this story,” says Oshii. “This
is the most gorgeous film made in the series so far. Rupert starts with
compositions, colors and lighting ideas. As a director myself, I
believe it’s best for the director to do what he envisions, so I wished
that for Rupert. Scarlett Johansson has gone above and beyond my
expectations for the role of Major.”

Sanders is proud to be part of the continuing “Ghost in the Shell” legacy. “We all felt it was important for us to become part of that culture,” he concludes. “We
had someone from Japan with us the whole time we were shooting the
film. We wanted to be a part of this line of storytellers, and we wanted
them to be a part of our project.”

Opening across the Philippines on March 29, “Ghost in the Shell” is distributed by United International Pictures through Columbia Pictures.

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